Shimai Dances

Using a jiutai limited to two members, the shimai version of Hashitomi and Kokaji’s Kuse and Kiri are presented from two different angles: front and side. Each dance is followed by our interpretation of its structure, where kata are grouped into segments, and where numbers refer to the stage’s Squares.

The shite's lines divide the text into sections, while sections are organized into parts according to the changing topics. Our structuring of the dance into sections matches with the text's. On the other hand, its sub-division into segments is based on kata that are known to be used as closing or opening movements, such as, stamping, opening, closing, and reverse holding of the fan, the sequence kata Forward Point and Open retreat, among others. The analysis shows that parts and segments are often slightly out of phase. We speculate that avoiding 'cadencing' text and dance at the same time, might help maintain the dance's flow.

Kokaji's Kuse is divided into two parts: The shite sits center-stage during the first part, and dances during the second one. Usually, only the second part is performed when presented as a shimai. We have included both parts to illustrate and stress the point that in a context of little motion, every simple kata carries meaning, may the movement be as simple as a sliding left or right, a head motion, raising on knee, and so on.